Outputting to D5.
Today we performed a test of our workflow. We took various Varicam footage, interiors and host exteriors, and other sources such as one of our graphics machines outputs, and dropped it onto a G-Raid and headed to the post house that had a Final Cut Pro bay and a D5 deck.
The system we output from had a Kona 2 card, and was routed to a machine room. The editor hooked up the G-Raid, opened a new project, and imported the clip into that project. THE MEDIA REMAINED ON THE G-RAID. He then added bars and tone and asked for the network specifications. He took them into the machine room to set up the D5 tape properly. Apparently there are dozens a things you need to take into account when setting up your tape. I am really glad that we had not only the online editor, but machine room operator present to make sure it was done right. After they got everything set up, he did the output with a total running time of 3 min.
It looked gorgeous. We were viewing this on a Sony CRT HD monitor (a discontinued model due to the health hazards involved in making it and disposing of it when it dies) and the image was SHARP. Interiors had a little noise, but it looked like film grain…the exteriors looked flawless.
We output 10-bit uncompressed to D5, upconverted on the fly from DVCPRO HD by the Kona 2, running off a G-Raid firewire 800 drive.
It appears that out workflow works. But we are awaiting QC from the network. When we get that, then we’ll know for sure.